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A fire station is a building where not too many things happen. But the few that do are either too forgettable or too memorable. This thesis tries to achieve time, innovation and realism. There's a redundancy in this building, in people's actions that makes it memorable. This building is the evidence of my way of thinking architecture. It reflects my memory as student and architect. It shows an undeniable background. It's questioning why buildings don't endure in time, why they are disposable objects. I'm trying to find reasons to make a building respectful, socially involved with its surroundings. The project is a midsize fire station. It answers to an actual necessity to relocate the existing fire station on Prince St. (Alexandria, VA) giving more space for firefighters and better access for two trucks. The new site is an existing parking lot that crosses a whole block from South Washington St. to South Columbus St. between Wilkes St. and Wolfe St. This site gave me the possibility to create a building where trucks can access and leave it without turning or maneuvering too much. / Master of Architecture

Through parallelism with characteristics of magical realism, the building is materialized by deciphering the unseen images latent in ordinary life. WAAC radio station. Old Town, Alexandria, Virginia. / Master of Architecture

ANNOTATION: The work The Mirror of Reality in the Imagery of Dreams of the 19th and 20th Centuries - Creative Individuality versus the Chaos of the Time is based on the assumption that dreams are inseparably linked to the concept of existence in human life (Michel Foucault). The study touches on the ways in which dreams are depicted in visual culture that does not coincide with chronologically organized historical events, but is an expression of a free alliance between artists in the European space and centuries of common experience. These works are generally socially critical, exposed to unimaginable pressure from public censorship. The artist must pretend it is only an innocent game, a crazy idea, a whim. At the same time, these paintings are not an expression of boundless imagination, but they are subject to the firm rules of spatial construction of the painting. This is due to the traditional delimitation of dark depths - the underworld of Virgil's Saturn myth of pre-Roman culture, alternating with the vertically felt open heavens as variants of the original Plato's The Myth of Er, which in the 20th century paintings is replaced by the idea of an open landscape with illumination on the low horizon. The work deals with the work of Albrecht Dürer, his copperplate Melancholia I (1514) and his so-called...